Growing up, many of us have heard stories that are both myths and, in some way, wrapped around some sacred stories with an underlying religious message. Then later have seen movies or books that use these same plots or stories past down from generation to generation from cultural folk stories. Many have an unfolding theme of these mythical ‘ messages of historical religious and magical tales. Likewise, if you add human beings pose queries about almost everything in the world, by what they have learned and transmitted, including themselves.
Many times, they find a reason or justification in the most basic ways, many through myths and sacred stories, which are interconnected and intertwined with legends, or fabrications, recognized by each specific cultural group. These myths, or stories, help explain the world in a harmonious way or in suffering and chaos time in people’s lives. They help with people’s knowledge of the world in which they experience as one or as a group. They use a web of relationships with other components like religious views and traditions, social lives, and family systems.
Sometimes truth and fiction will overlap, which has been a successful tactic in the different forms of Entertainment. For a broad range of humans, who are looking for an answer, Entertainment taps into ancient myths or sacred stories, triggering people’s emotional beliefs, values, and earlier life experiences. Which usually are based on extended long-standing spiritual possibilities or sacred parts of people’s lives, that either brings back joyful or scary feelings from a significant part of their lives or theories that have connections to the situation of the modern world. In the Lecture Video studied in the classic myths and Sacred Stories, ANTH 13, wk. 7-Part 1-4, Liam Murphy, (2020) introduces students to how the United States’ entertainment Market uses these views or narratives of myths and sacred stories.
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Therefore, one thing is clear: an idea has to have some truth that usually with reality equates, which holds people’s sense that is, a belief in an existence that cannot be scientifically tested and, in the participants’ we are not linked in the same way. There are many kinds of literature, movies, and music that use a dash of realistic fiction, false myths and sacred stories to describe their view of the real world as having both an undercurrent of a real and fictional world. Such as Christopher Marlowe, ‘Doctor Faustus,'(1592) J. R. R. Tolkien, ‘The Lord of the Rings,’ trilogy, (2001-2003), and Metallica, ‘All Nightmare Long.’ (2008)
Thomas Healy, (2013) shares with us, in ‘Marlowe’s Biography,’ that Christopher Marlowe’s works show both his personal view on life and religious opinions. As the story is one of the saddest realities and a great example of how a project can arise out of an artist’s losing their voice with their physical and philosophical world around them that conflicted with their reality and identity. (Murphy, part 1: 0:03:16-0:05:39)
Marlowe grew up under the influence of a narrative that was all about religious Doctrine which did not support his personal feelings, so he shifted his way of expressing his objectives and tactics in an attempt to reorder his thoughts and beliefs into action in a world that it was dangerous to express your views openly, especially when they went against theological views of the churches. (Healy, pp. 337)
So, he cleverly created storylines that were arranged to suggest potentially what he believed with fake supernatural beings, yet remain open to interpretation, like many other mythical stories passed down through history. (Murphy, part 2: 0:15:16-0:23:39) So, Marlowe’s plays are often thought to be reflected in the unique protagonist way to mix and muddle the meaning through mixing truth and mythical stories, e.g., As such, his formulation of an intelligent man with no center of focus or satisfaction in life.
Like in his character Dr. Faustus, who rebelled against what he considered a religion that tries to contain his ability to obtain Universal intelligence through divine or evil means, because of their perception of what is acceptable social paths and norms. Many of Marlowe’s plays contend mythography universe of fallacies that masks complex truths that go against mainstream cultures, such as his sexuality, which fringes as a myth based on the reality of his experiences.
So, instead, far from building stories with fixed beginnings and endings, Marlowe creates a reasonable existence with myths and folklores incorporating sacred trilogy into his work by based Faustus legend on a real historical figure. But Marlowe parallels him between a supernatural power and scientific beliefs. By a mixture of Marlowe’s life and the sacred legend Faustus passed down, an intimate mythical logical use of his text give the character magical powers to control his life, but at the same, the epistemologies of magicians of the image he is celebrating the difference and uniqueness of myths and the cultures that generated them the power to break up into small parts the Christian myth of any possibly rejuvenating world view or habit of mind. (Healy, pp. 336-338)
Humankind has never lacked powerful images to lend magical aid of myths and sacred stories against all the incredible things that live in the depths of the psyche. J.R.R. Tolkien’s writing was not different. J.R.R. Tolkien books about the use of divinity and Magic for a man to exceed the restrictions set by their Society, good and evil, debating great and bad superpowers who give us great wisdom through the mythical place in a fictional universe with mysterious dimension characters. The fall of humankind to the seduction of evil power and good magic contact with each other with a desired or a similar cause of hopes for power or greatness or destroy a mutual enemy.
William Irwin, (2007). share something fascinating with us, in his book about the band Metallica use mythos within their lyrics, ‘ All Nightmare Long,’ the music video, which does not feature the group, is a mockumentary depicting a sequence of fictional events to us, death is always chasing us, and we’re still running away from it. Our dreams are continuously chasing us as mythical monsters or society monsters who try to pull everyone in one box. (pp. 213) However, if you are still pulling people, they will push back through longtime mediums that do not go away.
The best interview I ever show about a band that was mysterious to me was Metallica. The member said something that has always stuck in my mind. The spirit world wants us to live our lives on Earth as generally as possible to who we are, but its society that makes you create mythical characters to fit into their they’re small-minded belief what is normal. (2013) If you close your eyes, put on your headphones, and see things. Their music has a lot of imagery of mythological creatures and realistic visions of the world we live in today. It’s cool.
What I think is most telling about Marlowe’s, Tolkien, and Metallica they all use text in different forms that Society focuses on a religious view, traditions cultural beliefs and legendary, mythical and mythological creatures to tell a story to keep people to keep Society under their power and inline to their expectations. Still, in most cases, it a unique Person or Group who uses myths and sacred stories in a way that helps manipulative power that benefits most of the Society. These myths and sacred stories take us away from evil in our life, give us hope, teach us valuable lessons, help be more open-minded, and call us into the act at times of need. (Murphy, part, 1 3: 2020)
